On the hazy beauty of Li Shangyin's love poems 1. Introduction to Li Shangyin and his love poems Li Shangyin is an outstanding poet with important achievements in the late Tang Dynasty of my country. He is as famous as Du Mu and is known as "Little Li Du" in the world. Li Shangyin began to learn ancient prose, and was appreciated by Hu Chu, the leader of the Niudang Party. He entered the shogunate and learned parallel prose. In the second year of Kaicheng's reign (837), he won the imperial examination with Linghu's power. The following year, he joined the shogunate of Wang Maoyuan, the governor of Jingyuan who belonged to the Li party. The king loved his talent and gave him his daughter as his wife. Therefore, he was ostracized by the Niu Party and moved around the shogunate in various vassal towns, unable to achieve his goals throughout his life. There are about 600 of Li Shangyin's poems in existence. The origin of his poetry can be traced back to Qu Yuan, a doctor of Chu, and to Li and Du in the prosperous Tang Dynasty. He inherited the aesthetic style of poetry created by Li He in the mid-Tang Dynasty, and became the first lyricist of Tang poetry with his exquisite conception, implicit meaning and gorgeous rhetoric. The new peak of art represents the highest achievement of the late Tang Dynasty. Li Shangyin is a poet who has experienced ups and downs in his career and life. Therefore, his poems are extensive in content and profound in meaning. Among them, his love poems are the most widely read by future generations and have reached a very high artistic level. Li Shangyin can be said to be the first poet specializing in the creation of love poems in the history of Chinese literature. He had a profound influence on Wen Tingyun, Wei Zhuang and later Xikun style poets and graceful poets of the same era. He has many beautiful sentences describing love, such as "The spring silkworms will die when their silk threads are gone, and the wax torches will turn to ashes before their tears dry up.", "There are no colorful phoenix wings in the body, but there is a clear understanding in the heart.", "This feeling can be remembered in memory, It's just that I was at a loss at that time." and so on have become eternal masterpieces to express true emotions. Moreover, because of the implicit and ambiguous characteristics of these poems, they have gone far beyond the scope of love and have become wise quotes for understanding life. In Tang Shi Cong Xiang Kingdom, love poetry is a unique and unique work of a country. Li Shangyin's love poems are the most eye-catching among the wonders of this country. With brand-new enthusiasm and extreme concern, he penetrated into the deepest level of the emotional world between men and women, to explore, appreciate, understand and feel, and regarded the love between men and women as his main aesthetic object and an important theme of poetry. He wrote more than a hundred love poems (including sustenance poems) throughout his life, accounting for almost one-fifth of his works. Judging from the quantity alone, he is the first poet in our country to write a large number of love poems. Of course, the number of creations is not the criterion for judging the quality of a work. What really made him reach the top of the field of love poetry should be the unique artistic personality of his love poetry. The characteristics of his love poems are mainly to express inner feelings and exaggerate the atmosphere. The images in the poems are dense and full of leaps, and he likes to use symbols, hints and metaphors. Li Shangyin could not extricate himself from the whirlpool of the "Niu Li" party struggle. Although he pursued unremitting pursuits throughout his life, his future was still bleak, which made his character always depressed and heavy. He feels about himself and the world, and he wanders in his mind, turning over and over, with unspeakable secrets. He tries to express his feelings, but euphemizes his feelings, twists his meaning, and obscures his things. This is reflected in his creation of love poems, which is that he likes to use symbolic hazy realms to express hazy emotions. Li Shangyin deliberately pursued the hazy artistic conception as a beautiful poetic realm, and his ethereal and hazy emotions are indeed suitable to be expressed in this artistic conception. It can be said that the hazy artistic conception is the artistic personality of Li Shangyin's love poems. Hazyness is vague, just like flowers in the mist or the moon in the water, looming, giving people a unique and ethereal beauty. The hazy beauty is not Li Shangyin's original invention. As early as a thousand years ago, he appeared in "The Book of Songs·Jianjia", "Jianjia is green, and the white dew is frost", which constitutes a vast and confusing realm. The "Jianjia" is looming and out of reach. The image of "Yiren", as well as the goddess of Luoshui in the works of Cao Zhi who was more than 600 years earlier than him, who seems far away but also close, seems to be there but not at all, are full of hazy beauty. However, at that time, people did not recognize it as an aesthetic form, and no poet regarded it as his creative pursuit. Li Shangyin's contribution is that he absorbed the experience of his predecessors and more consciously pursued this aesthetic feature in his creation based on his own life experience, making it his own artistic personality. With his own creative practice, he improved people's aesthetic psychological structure and improved people's aesthetic ability. It can be said that it is the hazy beauty of his love poems that enabled him to establish a towering peak in the field of love poetry. 2. The hazy beauty of Li Shangyin’s love poems. It is rare in the history of Chinese literature to express hazy beauty as his creative pursuit. Because of this, poetry commentators for thousands of years have always had different opinions and endless disputes about Li Shangyin's love poems that are "deeply affectionate", "hidden words are mysterious", and "have deep feelings but are elegantly worded".

Some people denounced it and derogated it as "excellent talent"; some people praised it, thinking that his love poems "have more than enough emotion and flavor, and they are not as good as the words but not enough". They also regarded his poems as "infinite flavor and getting more and more popular." It is a wonderful state of "drilling becomes stronger but never exhausting"; some people sigh with emotion, "I only hate that no one writes Zheng Jian" and "a piece of "Jin Se" can solve people's difficulties". For these very different evaluations, we cannot blindly agree or blindly oppose it. Instead, we should conduct a detailed analysis of the aesthetic form of hazy beauty, distinguish the advantages and disadvantages of this aesthetic form, and then draw our own conclusions. Hazy beauty is an aesthetic form opposite to clarity. We know that poets have merit in using clear images to reflect reality. The theme is very clear and can be understood at a glance. For example, Bai Juyi's poems are clear and approachable. "The first chapter marks its purpose, and the last chapter shows its ambition." In order to avoid readers not understanding, state the creative intention clearly. However, it is too clear, allowing people to see through it at a glance, leaving no room for aftertaste, and lacking the implicit beauty. This is a major disadvantage of poetry. Therefore, people are often more willing to pursue a hazy aesthetic feeling. In some cases, hazyness is more beautiful than clearness. This is a common phenomenon in the aesthetic process of aesthetic subjects. When the aesthetic subject is taking care of the object, due to the distance or the obstruction of other things, it is difficult to see the clear image of the object, which often leads to confusion and uncertainty, which arouses a desire to explore and enthusiasm. So the subject tries his best to supplement it and beautify it with his own imagination, which invisibly increases the charm and beauty tension of the object's beauty. Like the moon in the water, the flowers in the mist, the beauty behind the curtain, the West Lake in the rain is a bit more mysterious than usual. It seems to be unrevealed, unexposed, and blurred, which makes people think and meditate, and make them dream. The experience gained by the subject has a magical charm and is more durable. Especially in poetry, the advantages of this aesthetic form are more obvious. Because poetry reflects the writer's aesthetic experience, as the aesthetic process of the subject to the object, it is not a scientific identification and cannot be accurately decomposed and synthesized using the concepts of physics and mathematics. The aesthetic relationship between the subject and the object is often a vague awareness. Due to the limitations of language itself, it is impossible for the aesthetic subject to express this consciousness in accurate language and clear images, and can only be in a state where it can only be understood but not expressed. In order to fully express this indescribable inner emotional crystallization, it can only be expressed in a vague and hazy poetic realm. The aesthetic effect brought about by hazy images and vague meanings attracts readers to engage in re-creative thinking activities and to repeatedly appreciate the quality of beauty hinted by the author. Feel the author's indescribable feelings in your heart. For example, "Moonlight Night Returns to Song Huayang Sisters": Stealing peaches and medicine is difficult to do at the same time, and colorful toads are locked in twelve cities. In response to the three heroes' admiration at the same night, the Jade Tower is still covered with crystal curtains. This is a poem sent by the poet to the woman he loves. There are only twenty-eight characters in the whole poem, but the use of six allusions to gods and goddesses such as Dongfang Shuo, Chang'e, Twelve Cities, Cai Chan, Jade Tower, and Crystal Curtain makes the poem seem confusing and vague. Only through repeated appreciation and aesthetic re-creation can we understand the indescribable feelings that the author wants to express. The first sentence of the poem uses the allusion of Dongfang Shuo and Chang'e to lament the incompatibility between the love between humans and gods and the pursuit of immortality. The second sentence uses the two images of twelve cities and colorful toads, which allows us to understand that the Huayang sisters in Song Dynasty are like entering the Guanghan Palace because they have entered the Taoism. They have become vast and out of reach. The word "lock" describes the fact that Leng and the woman in Lougaoyuan lost their freedom of love due to the constraints of palace rules. From the third and fourth sentences, we can understand that the poet originally wanted to enjoy the moon under the moon with the Huayang sisters, but when they came, they could only look forward to it. The palace is strictly forbidden, and the "Jade Tower" seems to be separated by a "crystal curtain". The imagery in this poem is vague, giving you a hazy sense of beauty. The poet's misty and hazy feelings for the Huayang sisters and the unreachable ambivalence are expressed in this hazy artistic conception, which is endlessly memorable. Therefore, judging from the aesthetic effects brought about by this aesthetic form of hazy beauty, we have every reason to say that the hazy beauty expressed in Li Shangyin's love poems is the aesthetic taste expressed at a higher level. Genius artistic creation. We have every reason to say that this hazy beauty is the artistic life of Li Shangyin's love poems. The expression of hazy beauty in Li Shangyin's love poems is multifaceted, but generally speaking, there are three main characteristics: first, the hazyness of the image, secondly, the hazyness of the artistic conception, and thirdly, the hazyness of the intention.

First, the hazyness of the image. The image is an object that has been processed by the poet's subjective color and penetrated into the poet's aesthetic ideal and aesthetic taste, or it is an "imagined object". It is an important factor that constitutes the artistic conception of the poem. In order to pursue the hazy beauty effect of the poem as a whole, Li Shangyin rarely chooses fresh and clear images when creating images. Instead, he often relies on a large number of images with hazy beauty to create a sad and melancholy atmosphere for the protagonist's love life, directly giving people a hazy atmosphere. of beauty. In Li Shangyin's love poems, the most frequently appearing images are the moon, night, dreams, fog, rain, etc., such as: "If you don't believe that the rhombus branches are weak in the storm, who will teach the fragrance of cinnamon branches to the moon dew." ("Untitled") "Prophet" The wind is blowing and the moon is hazy, but the cold flowers are still exposed." ("Chong Rang Zhai in the First Month") "How is the snow and moon shining in the night, even on the twelfth floor of the Yaotai" ("Untitled") "The mirror is bright but the clouds are sad. "Change, I should feel the cold moonlight when I sing at night" ("Untitled") "A spring dream often rains, and the wind is full of flags all day long" ("Chongguo Saint Maid Temple") "The dream is far away and it is difficult to call out, and the book is quilt. The ink becomes thicker." ("Untitled Four Poems") "The long journey should be sad in the late spring, and the remaining night is still full of vague dreams." ("Spring Rain") "The heavy quilt has a deep dream, and the female tree is restrained last night. "Shocked." ("Galaxy Blowing Sheng") In his works, images such as the moon, night, rain, dreams, and fog appear again and again, and these images themselves have a sense of ambiguity. Dreams are ethereal and blurry, the moon is vague, the night is mysterious and vague, and the rain and fog are even more hazy. The large number of these scenic spots gives the poem a hazy and wonderful veil. Second, the hazy artistic conception. The scenic spots are individual and partial, and are only the basic building blocks of poetry. Li Shangyin is good at combining individual images to form the artistic conception of poetry, showing the overall hazy beauty. For example: One of the "Three Poems of Bicheng": The twelve windings of Bicheng, rhinoceros to ward off the dust and jade to ward off the cold. There are many books in Langyuan with cranes attached to them, and there are no trees or luan in the women's bed. Stars sinking to the bottom of the sea can be seen from the window, and rain crossing the river source can be seen from across the window. If the dawn pearl is clear and determined, it will grow on the crystal plate. Here, the eight sentences use eight images, including "Bicheng Twelve", "Bearing away the dust and cold", "Langyuan attached to the crane", "The female bed dwells on the luan", "The star sinks to the bottom of the sea", "The rain passes over the source of the river" As well as "Xiaozhu Mingding", "Long pair of crystal plates" and other words with the charm of immortals and otherworldly characters depict a mythical realm full of mysterious atmosphere, thus casting a strong hazy feeling on the artistic conception of the poem. These images suddenly go up to heaven and then come down to earth. Heaven, earth, gods and humans merge into one. There seems to be no connection between them. However, there is an underlying emotional thread between these images, which firmly connects them together. The image in that poem is the embodiment of emotion. "Shangqing Jing" says: "Xuanshi Tianzun lives in the palace of purple clouds, and the blue clouds are the city." Feng Haoyun: "Entering the Tao is to ward off dust, and seeking pleasure is to ward off cold." The emotional meaning of one or two sentences has already hinted at it. The one I love is a female crown. The three sentences of Langyuan Immortal World, "The fairy family uses cranes to pass messages, and white clouds send messages", which implies that the message has been communicated, and the four sentences refer to their secret agreement and good friendship in the quiet period. The above four phenomena are all in the realm of gods and immortals in the sky, where humans and gods fall in love, men and women rejoice, and everything happens in a trance. Five or six sentences describe the anguish of suddenly falling from fairyland to real disaster, resulting in the separation of love. During the day, the two can only be seen through the window, and at night they have to sit across from each other to see each other. Seven or eight sentences also express infinite emotion: If the sun never sets, then I am willing to stay up all night to enjoy the reunion forever. The poet weaves a complete artistic conception through hazy images full of gods and goddesses, achieving an overall sense of hazyness. It writes about the poet's persistent pursuit of love and the depression of hopeless pursuit. Third, the ambiguity of the intention. The intention is the creative intention. The lyrical objects of Li Shangyin's love poems can be roughly divided into three categories: the first category is the love objects of the poet's youth, such as Luoyang's daughter Liu Zhi and the female Taoist priest Song Huayang. Such poems include "Five Poems on Willow Branches", "Gift to the Immortal of the Song Dynasty in Huayang and Send to Mr. Liu of the Qing Dynasty" and "Send to the Sisters of Huayang Again on a Moonlit Night". The second category is the poet's wife Wang. This type of poem reflects the poet's admiration for his wife before marriage, his introduction to him as his lifelong confidant after marriage, and his grief after his wife's death. It expresses Li Shangyin's sincere and sincere love between husband and wife, as well as his profound and graceful artistic feelings. This type of poetry has more quantity and higher quality than the previous type. There are "Chong Rang House in the First Month", "Chong Rang Dong Pavilion's Works after Drunk", "Chong Rang House Banquet on July 29", etc. These two types of poems have clearly stated their creative intentions in their titles, allowing readers to find them. The third category is different. The object of its creation is ominous, and we cannot examine the poet's love object. Some of the objects do not belong to one person or one thing, or even if one writes about one person or one thing, it is often extended and deepened, and generalized. Most of this type of poets use "Untitled" as their title. Or use the word "dao in the poem" as the title, which means there is no title.

There are also some poems with titles, such as "Saint's Ci", "Chongguo Saint's Ci", "Haike", "Chang'e", "Gift to the God of Light", etc. In these love poems, the author consciously hides his creative intention and makes readers fall into the mist. As a result, for thousands of years, poetry commentators have been arguing about the creative intention of Li Shangyin's poems. For example, in one piece of "Jin Se", there have been no fewer than ten understandings of its creative intention. Some people think it is a preface written by the author, summarizing the contents of the collection; some people think it is a political poem, a review of the poet's life after experiencing many turmoils in his official career; some people change it into a pure special poem, describing the poet as comfortable, resentful, clear, and harmonious. Four moods; some say it is a mourning poem, and the harp and harp are metaphors for a couple. Some say it is a work about reminiscing about old love, and Jinse is a certain girl; some say it is a work about missing family while traveling in Sichuan... Moreover, this debate is still going on. Judging from the imagery and artistic conception of the poem, each theory is unfounded, but no one can make a final conclusion. This is all because the author deliberately concealed his purpose. There are many poems like "Jin Se" in Li Shangyin's poems. Some of them appear to be about love, but in fact they have sustenance. Some of these sustenances are relatively obvious, while others are very vague. Regarding this point, Qu Fu of the Qing Dynasty made a very thorough statement: "Every poem has a sustenance, some can be known and some cannot be known. For example, 'Fighting with Chanjuan in the Frost in the Moon' and 'The Last Remaining King Shu Yanshi', The sustenance is clear, and it is a general theory. This can be seen. If the chapters of "Jin Se", "Untitled" and "Yu Shan" are all words of admiration for men and women, we know that they have sustenance. "Li Shangyin and later generations made a joke. He always refused to speak straight words, and was confused and confused. He suddenly continued to write these enigmatic poems, forming a layer of mysterious fog in front of the readers, allowing future generations to understand its meaning and purpose. Trust and seek. However, it is in this search that readers can experience a kind of beautiful enjoyment. 3. The expression method of the hazy beauty of Li Shangyin's love poems The hazy beauty of Li Shangyin's love poems has several characteristics in the expression method. Among them, the creative use of symbolic metaphors is the most important feature of the hazy beauty of his love poems. He Shang said in "Poetry of Zaijiu Garden": "Since the Wei and Jin Dynasties, many styles of writing have been reduced, but Yishan still exists and is prosperous." Li Shangyin was good at learning the literary creation experience of his predecessors, Qu Yuan, Song Yu and others, and directly inherited it from them A symbolic metaphor. The poet uses his thoughts to let wonderful associations and fantasies soar through the past and present, and fight against the world. His associations and fantasies are closely related to real life, and he often uses specific things in real life to express special meanings. He often places his affection on plants, flowers and birds, giving them human emotional character, so that their specific changes and human emotional changes are cleverly intertwined to achieve the unity of dual characters, so that the specific things in the poem are covered with the refraction of the poet's heart. : "The spring silkworm will not run out of silk until it dies, and the wax torch will dry up when it turns to ashes." ("Untitled") The poet uses the common metaphors of "spring silkworm" and "wax torch" to describe the silk-like length and the cocoon's binding. The lingering longing for lovesickness is explained, and it shows that only death can erase the deep longing for lovesickness. Poets often embody symbols in comparison, using the poet's active and sensitive mind to explore the vast world and integrate with all things in the universe, thus creating an ethereal and hazy poetic realm and images that change without reason, "Zhuang Shengxiao" The dream is obsessed with butterflies, and the emperor's spring heart is supported by cuckoos. The moon in the sea has tears, and the warm sun in the blue field creates smoke." ("Jin Se") The poet uses symbols and metaphors to express the eternal sorrow and seemingly indescribable feelings. . Due to the use of symbolic bixing, the artistic conception of the poem becomes ethereal and hazy, and due to the uncertainty of symbolic bixing, the intention of the poem is also uncertain and irregular, appearing vague, resulting in a hazy beauty. Rendering and contrasting the environment from multiple angles and levels, processing images with suggestive methods, and creating emotional images are another important feature of the expression method of the hazy beauty of Li Shangyin's love poems. In Li Shangyin's love poems, we rarely see very specific natural features, social and character images. He often adopts a method of rendering and depicting the environment to convey various complex feelings and emotions in his heart through the most accurate "correspondence", thereby creating an emotional image. Let me take a look at the poem "Spring Rain": I lie down in my white clothes during the New Year, and my white door is sparse. The red building looks cold across the rain, and the bead-foil floating lantern returns alone. The long journey should be sad because of the late spring, and the remaining nights are still filled with vague dreams.

How can the jade clang and seals reach their destination? A wild goose flies across the clouds thousands of miles away! This is more like a sad and sad "Spring Rain Picture of Xiaoxiao"! Here, the white door is lonely, the red building is desolate, the rain is erratic, the light is dim, the dream is vague, the cloud is gloomy, the wild goose is lonely... everything is so lonely, everything is So cold, so lonely. Here, the poet did not outline a specific image, but only focused on rendering an atmosphere. In this desolate, erratic, and lonely atmosphere, we can capture a psychological feeling and an emotional message through our own imagination. To create perfection and form an emotional image with individual characteristics. The emotional image is undoubtedly as hazy as the dreamlike, erratic and confusing artistic conception. In turn, this hazy emotional image is suitable to be expressed in this hazy artistic conception. Because feelings are complex and indescribable, they cannot be expressed with clear images and can only be reflected in hazy images and artistic conceptions, allowing readers to realize the poet's feelings in the experience of this hazy artistic conception. The large number of allusions, especially the allusions about gods with a vague and romantic color, is also a prominent feature of the hazy beauty of Li Shangyin's love poems in the artistic technique. Regarding the issue of love, sometimes it is inconvenient for people to express it clearly. Expressing it through allusions can put a veil on the specific love story, making it more mysterious and beautiful. Moreover, by appropriately using allusions and arousing readers' associations through hints, many unnecessary narrations and explanations can be saved. Li Shangyin knew this very clearly. Moreover, he was a talented man who read poetry and books, had extensive and profound knowledge of ancient literature, had a vast collection of classics and history in his mind, and had all kinds of allusions at his fingertips. His poems often include certain legends about immortals, myths, Buddhism, Taoism, and alchemists, and express them with appropriate, emotional and symbolic words, wrapping a layer of mysterious mist around the images and artistic conception. According to incomplete statistics, Li's poems used mythical words and otherworldly objects and images such as Xuanyuan Huangdi, Xihe Riyu, Emperor Yan Shoutian, Buddha Shizu, Penglai Sanshan, Langyuan Fuhe, and Nv Xiluan , Magu scratching her back, Chang'e flying to the moon, the immortal picking sesame seeds, the Queen Mother descending to earth, Xiao Shi attracting the phoenix, Zhuang Sheng Xiao Meng, Wang Di transforming into a cuckoo and so on, more than 1,200 stories. According to the 600 poems in existence, each poem actually uses the words of immortals, Zen monks, Buddha and Taoism. In Li Shangyin's love poems, such allusions are used more often. For example, in "Holy Maid Temple", five allusions about immortals are used in succession: Sanliwu, Wuzhuyi, Cui Luoshi, Liu Wuwei, and Chaitou Baiyan. These fairy scriptures themselves have a hazy feeling, which makes people feel confused and mysterious. When they are used in poems, the whole poem is surrounded by some divine clouds and fairy mist. Moreover, because the allusion itself is ambiguous, readers can understand it from different angles, which adds many angles to the reader's understanding, which in turn leads to the ambiguity of the meaning. Furthermore, because allusions are not a direct description of things, but hints at the content to be expressed through quoted allusions, this creates obstacles for readers to understand, adds twists and turns and wonderful poetic interest, and creates The hazy beauty of indirection. From the three characteristics of the hazy beauty of Li Shangyin's love poems, we can see that Li Shangyin's love poems pay more attention to the expression of psychological experience and the transmission of emotional information in the poems. Contrary to other poets at the same time, he did not pursue the perfection of images and the vividness of artistic conception, but deliberately disrupted the sequence and integrity of the pictures, clipped unrelated images together, and created a series of images through jumps between images. This kind of blurred emotional state allows readers to receive the emotional information in this state, generate artistic associations, and gain a hazy, vague and erratic aesthetic enjoyment. The hazy image, hazy artistic conception and hazy intention embody the aesthetic effect of hazy beauty, which is the most distinctive artistic feature of Li Shangyin's love poems. With his genius creation, he enriched the aesthetic characteristics of poetry art and led the appreciation of poetry to a higher stage. With his artistic characteristics of hazy beauty, he has been shining brightly in the poetry world for thousands of years, winning eternal poetic fame. He is well-deserved for his reputation as a "giant" in the poetry world of the late Tang Dynasty. 4. The reason for the hazy beauty of Li Shangyin's love poems. Li Shangyin's love poems have superb intentions and far-reaching sustenance, which are beyond the reach of others. This has a lot to do with the environment of the times in which he lived. We know that as a feudal society in the late Tang Dynasty, it has entered an era of increasing decline. In particular, the crony struggle made many talented people at that time become victims of the struggle for political power.

As for Li Shangyin, as a scholar of this era, he wanted to use his talents to serve the country. However, he fell into the whirlpool of the Niu and Li parties. He suffered many misfortunes and was unsuccessful in his official career. Therefore, he had no idea about the dark social reality. He had deep feelings, thus cultivating his extraordinary social insight and critical eye for reality. In terms of creative style, Li Shangyin strived to overcome the shortcomings of previous generations of poets who were too straight, not concise enough, and lacked artistic charm. He deliberately pursued the hazy and implicit aesthetic taste of poetry, formed a unique artistic conception, and improved the artistic charm of poetry. In specific poems, the artistic conception is often tortuous, confusing, and the theme is far-reaching but not revealed. Li Shangyin was depressed throughout his life. When faced with career, love, fame and fortune, he was always very conflicted and found it difficult to give up. His character was also a bit weak and inflexible, making it difficult for him to make killing decisions. This character made Li Shangyin easily addicted to love. In the nest of love, Savor the ups and downs of life. But this made it impossible for him to show his talent, so Li Shangyin deeply felt the hardships of life. "Since ancient times, talent and destiny have been intertwined." He was always confused, contradictory, and painful. The feelings in Li's poems were also confusing, " The element of "fantasy" is very heavy. It is not difficult to see from Li's poems that the poet admires and values ??love very much. The sad and sad style in the poems is probably the author's understanding and obsession with love. In particular, some works that express lingering love and express the pain of lovesickness express his extremely complex inner world, with profound implications, implicit euphemisms, coupled with melancholic emotional tone, floating and confusing artistic conception and gorgeous rhetoric, making his works Love poems present a hazy beauty. Poetry is the aftermath of pain. At that time, literati were imprisoned by feudal ethics, but they were also unconscious. People's pursuit of happiness and freedom is contradictory and painful, and this pain is also confusing for them. This poem also gives people a feeling of confusion. In this environment, people also have a sense of guilt when pursuing freedom, love, and happiness, and a sense of guilt for rebelling against feudal ethics. When they dare not or cannot pursue, they are in pain, so emotional people always live in contradiction and pain. In this kind of contradiction and pain, people often show a kind of helplessness of "sorrow but not sadness, resentment but not anger". In this poem, it is not difficult for us to understand the poet's deep pain, and when this pain is expressed in gorgeous language, we feel the deep sadness. The extreme of brilliance turns to dullness, and the extreme of pain turns to helplessness. In this kind of helpless pain, many people often play games with life and adopt a joking attitude when writing poems and compositions. However, Li Shangyin did not follow this trend. This shows that Li is persistent in protecting his soul and heart and is unwilling to despise beautiful things. of. Because of this, we can always vaguely experience something beautiful from Li Shangyin's poems, although the expression of this beauty is hazy and even bitter. Excerpted from Baidu netizen, thank you.